Tag: Post Production

First off, this QuickTip mainly applies to those who use the Display the project item name and label color for all instances in the Project Settings > General.
A bonus QuickTip is that option by the red arrow above. If that options is CHECKED then anytime you change the name or label color of a clip in a bin or the timeline that change is reflected in the bin or the timeline. In other words it ripples that change of name and color throughout the project. I always turn this option on.
With this Project Setting option checked then anytime

This week on MacBreak Studio, Ripple Training’s Steve Martin shows us how the editor can be the director when it comes to working with 360 video in Final Cut Pro X.
360 video gives the audience the opportunity to look in any direction by either dragging in a magic window in a browser or moving their head around when viewing through a phone, tablet, or headset like Google Cardboard or perhaps an HTC Vive. It’s an opportunity, but it also poses a challenge for the filmmaker who usually wants viewers to look in a specific direction.
The viewer is limited Continue reading "Editor as Director in 360 Video with Final Cut Pro X"

Today we have three reader QuickTips for Adobe Premiere Pro that take us from the relatively new Library panel to the Effects panel to the Modify menu. Thanks to the PPro-using readers for sending in these tips! And here we go…

Shannon Wild and Russell MacLaughlin, Paul Nicklen, Andy Casagrande and Asgeir Helgestad all have a passion for nature and wildlife. They also have another thing in common: all use RED cameras.
RED’s Collective series is the ideal place to discover how different authors use the RED cameras they have chosen as their tool to share their visions with the world. The work of different filmmakers, covering different genres and areas, is displayed there, and each video is a lesson on technical aspects, but goes well beyond that, sharing with viewers how authors approach their preferred subjects.
The newest addition to Continue reading "Wildlife and nature as seen through a RED"

Have you ever tried to remove an object from a photo, but just couldn't get it to look right, whether it be because of the lighting, color, or actual selection? This tutorial provides a handful of tips for perfectly removing objects in Photoshop.
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Creators using Vimeo now have the ability to simultaneously live stream events directly from Vimeo to any RTMP-enabled destination (including Facebook, YouTube, Twitch, Periscope and more).
Vimeo continues to expands the tools available to creators using the service. The company announced this month two social distribution tools designed to help creators expand their audience while simplifying their workflow. First, the launch of Simulcast allows live events to be simultaneously streamed from the Vimeo platform to multiple destinations including Facebook, YouTube, Twitch and Periscope. Second, Vimeo’s Publish to Social feature allows creators to natively publish their videos to Facebook and YouTube

In a mobile world filled with an endless selection of preset filters, there are surprisingly few options to employ more creative color grading that is driven by specific choice rather than by simply perusing a gallery of presets. ACDSee Pro for iOS is one of the few apps that look to bridge this gap with an array of powerful color grading tools that emulate the color grading freedom of desktop editing.
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As an editor I don’t do a lot of extensive color grading in DaVinci Resolve but every now and then I can’t send a job to a real colorist and the grade is beyond the color capabilities built into the NLE. Resolve is the easy answer. I was working on one such job earlier in the year and I was turned on to a relatively new little feature that came into the software somewhere in the version 14s.
You may be used to using the color picker or some color picker like tool in your NLE’s color grading system to

More video is being produced and distributed than ever before. In this new media landscape, speed has become critical for media businesses looking to survive and prosper in today’s insatiable market for video content.
The Digital Production Partnership (DPP) summed up today’s realities in their NAB 2017 The Need for Speed report: “There are strong creative, financial and operational arguments for the move to IP production and cloud services. But the most compelling reason of all may simply be that audience behaviors will now require any content provider to be able to turn on a dime.”

The new 16 million pixel panel using Ultra-D technology for glasses-free 3D was announced at 2018 CES, but the company behind the project is already working on 32 million pixel panels in its R&D lab.
Whatever the size of the TV set, Ultra-D technology can be applied to it, says Stream TV Networks. In fact, as a core technology, Ultra-D can be applied to panels of nearly any type and size and is compatible with touch screen features as well. This means that consumers can have a seamless experience with virtually any device — televisions, tablets, smartphones, portable game players,

The new 16 million pixel panel using Ultra-D technology for glasses-free 3D was announced at 2018 CES, but the company behind the project is already working on 32 million pixel panels in its R&D lab.
Whatever the size of the TV set, Ultra-D technology can be applied to it, says Stream TV Networks. In fact, as a core technology, Ultra-D can be applied to panels of nearly any type and size and is compatible with touch screen features as well. This means that consumers can have a seamless experience with virtually any device — televisions, tablets, smartphones, portable game players,

This is the first of our reader QuickTips which comes to us courtesy of Clark Morris, Senior Editor of 30 Second Street. I have to honestly say that I have never thought of the left to right, right to left direction of a sunrise or sunset when I have quickly hit the reverse button in my NLE to turn that sunrise to a sunset, or vice versa. But I’ll take Clark’s word for it and heed this advice the next time. Take it away Clark!

Reversing Sunset to make Sunrise (or vice versa)

An all-volunteer produced event, the MediaMotion Ball serves as the unofficial industry kickoff and reunion event for the production, post production and motion graphics communities.
Celebrating its 21st year in this return, the MediaMotion Ball is hosted by the International Media User’s Group (IMUG), an all-volunteer community of video and design professionals. First held in 1998 the MediaMotion Ball is now the premier event for post production, motion graphics, 3D and anyone in the production field attending NAB.
The MMB draws attendees from across the country and around the world. It is one of the longest-running events of its Continue reading "MediaMotion Ball celebrates 21 years"

I’ve mentioned Cocatech’s $40 Mac OS Finder replacement application Path Findera time or two in the past. Even once in the 2015 #28daysofQuickTips as a way to sync folders. This time I want to point out one of Path Finder’s coolest features: the information panes that it can display around the Path Finder window. I consider this setup of info panes around the perimeter of the Path Finder window the perfect Path Finder panel placement.
There’s so much that Path Finder will do but one one of my favorite things is the ability to show a number of panes around

There was a Facebook post in an Avid editing group the other day that reminded me of one of my favorite uses for Final Cut Pro X: as a lightning fast browser for music and sound effects. I have a folder full of hundreds and thousands of sound effects and music divided up by library, type etc. These sound effects and music libraries live on my system and also travel with me when I’m working at a client’s facility on a portable drive. Plug it into my laptop (if they don’t have FCPX installed on the client system) and instant sound

This week on MacBreak Studio, I show Ripple Training’s Steve Martin how you can use the new color tools in Final Cut Pro 10.4 to create custom greyscale and tint effects.
If you apply a Color Curves correction to a clip and then attempt to isolate a specific \ red, blue, or green channel by pulling down on the upper right control point the other channels to remove them completely, you’ll notice in the RGB parade that those channels don’t get completely removed.
This is because the Preserve Luma checkbox at the bottom of the correction window is enabled Continue reading "Creating Custom Black & White Effects in Final Cut Pro X"

One of the strengths of Final Cut Pro X is its fancy graphics and titles, courtesy of Motion templates, 3D text and a very active third party development ecosystem. But I often find that more times than not I’m looking for a very simple title and/or lower third way more often that the fancy stuff. And it was only recently that I learned I don’t have to dig into the Titles and Generators sidebar to find those most basic of titles.
They live right under the Edit > Connect Title menu.
From there you can connect either a Basic Title or

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